Indivisible Screen 5 articles



Indivisible Poster
  • Coming-of-age stories are regular staples in the film industry, but I don’t think I’ve ever seen one quite as original as Italian director Edoardo De Angelis’s Indivisible. . . . The desperation Dasy has to be normal brings a poignancy and shocked understanding to the actions she takes to make it so. The moving final scene of the film honors the depth of feeling the entire cast, but especially the Fontanas, bravely explore.

  • De Angelis has created as powerful a metaphor as any I know for the hurtful, but necessary, process each of us must go through to grow up: separating from the ones we love, so as to become fully ourselves. Becoming your own person also means asserting your own aesthetic choices. In a heartbreaking scene, what that means for the twins is, finally, to sing a Janis Joplin song.

  • It's a flashy opening feature, with its tale of twin teenage girls physically joined at the hip, but it also underlines the powerful forces of Church and family that remain critical elements in Italian movies. Both themes are as inextricably bound in this film as the twins themselves.

  • De Angelis is also smart enough to know when to get out of the way and let their affecting dynamic carry the day — occasional dips into melodrama aside, Indivisible is above all else a mood piece humming with energy and marked by wondrous moments: a tattooed diva's rendition of "Ave Maria" at a little girl's communion party; Viola and Daisy backstroking to shore after a boat party where they're forced to decide whether to sink or swim. Like them, Indivisible is more than the sum of its parts.

  • Grotesquerie is at the core of Italian DNA—from Dante to Pirandello, a paradoxical mix of comedy and tragedy (and beauty and ugliness) defines this trope. De Angelis’ film affirms this tradition, offering redemption rather than punishment, and offering several powerful variations on the theme of freedom.